music criticism

“[I]magine an alternate universe where the trappings of success lead hip-hop’s anti-heroes to devise their own trap. Sound too close to home? Well, that’s exactly what the protagonist encounters among the ‘ethers of the Migosphere here on Drake world.’ But Quazarz hasn’t come to destroy; he’s come to deconstruct and shine a light.”

“HEAT,” in particular, with its blown-out bass and frantic vocals, explodes with id—a moment of catharsis for both the rappers and the listener. McLennon’s “I hate the way I think, I hate the way it looms” sounds more proud than afraid.

[I]f the Swedish musician has reinterpreted pop music it’s by de-cluttering it of contrived image and big budget campaign-trail tricks, either by design or necessity of making everything in her bedroom.

The Nashville five-piece Los Colognes third studio album The Wave is a pristine work of bright indie/dream pop that brightens any speakers it flows through. It is an ear-catching, complete artistic work from a group that is clearly gaining in confidence.

This is a bold album, and it’s often a funky one too. Prince’s spirit hangs heavy; Little Dragon knew what they were doing when they named one song “The Pop Life.” But even in the most Prince-damaged tracks, there’s enough restless experimentation going on that it never feels like imitation.

As a whole, the new record expands Brill’s buzzy, synth-forward sound. The Pornos weave solid blocks of interwoven guitars, keyboards, vocals and rhythms. Add Newman’s impermeable, sometimes overstuffed, lyrics to the mix and this can be a dense listening experience – albeit one that remains attractive in its deployment of melody, pretty voices and pulsing percussion.

And while plenty of acts have chosen to speak out on such issues, few have come across as fearless as Body Count do here. Compared to their goofy, cartoonish return on Manslaughter, Bloodlust proves that there’s still plenty of substance within, the sort of heavy, mercilessly politicised material that Body Count do exceptionally well.